danny karas sci-arc graduate portfolio
Post on 22-Mar-2016
228 Views
Preview:
DESCRIPTION
TRANSCRIPT
Danny Karas630-388-8632
daniel.karas2@gmail.com
Matter(66-71)
Table of Contents
Limn(6-29)
Gughi(60-61)
Link(62-63)
Hive(64-65)
Swill(32-47)
Gingricken(50-55)
Proji(56-57)
4
Gene
rativ
e Mor
phol
ogie
s20
13
LimnProjection: Projection in orthographic view is one of the techniques used to created the imagery. The pro-jection of shade and shadow onto 3 Dimensional objects like a sphere or square give new insight to how we understand depth within a 2 Dimensional image. Animated projection was also used by projecting animated shadow movements onto a sectional relief model to produce and object whose depth is continuously chang-ing and being altered.Geometry: The geometry was created on an outside first, inside second process. The outside geometry is meant to be a convex, multi-sided object that has been smoothed to remove any hard edges, much like a weathered rock. This produces a sort of Michael Meyers (Halloween mask) type effect. A single hard edge and sculpted cut out of the object gives it a point to be oriented against. Instances of shadow were then inter-preted and painted on the outside to produce levels of ambiguity within the object, moments where you are unsure if geometry extends into darkness or brightness or if it stops short. The inside of the object is sepa-rated from the outside, rather than just an offset, these squares intersected by spheres allow us to understand the difference between a hard edge and a soft “edge” and how the projection of imagery can enhance or fake those moments.Hatching: Hatching was the primary technique used to interpret shade and shadow and is what helps tie the entire project together by giving a single direction to the hatching that is continuous throughout the project. Different densities of hatch help darken, lighten, flatten, or add contrast to each image and the single type of hatch in the same direction do not over clutter the composition. Diagonal structured components were used to enforce the direction of the imagery.The project is meant to explore new ways of understanding how designers create and read projects through orthographic images and the projection of imagery onto 3 dimensional objects. This project is about the drawing and how it can translate into other mediums.
Project in Collaboration with: Austin SamsonAdvised by: Andrew Atwood
Generative Morphologies
DS1201
5
6
Gene
rativ
e Mor
phol
ogie
s20
13Cr
eatin
g th
e fa
cele
ss o
bjec
t by
smoo
thin
g aw
ay fo
rmal
feat
ures
Generative Morphologies
DS1201
7
Exploration of creating fake shadows and relationships between the interior and exterior pieces
8
Gene
rativ
e Mor
phol
ogie
s20
13In
itial
exp
erim
ents
with
usi
ng h
atch
ing
as a
flat
teni
ng d
evic
e an
d ex
plor
ing
the
pote
ntia
ls o
f diff
eren
t hat
chin
g m
etho
ds
Generative Morphologies
DS1201
9
Experimenting with the chiaroscuro effect on a earlier form
al iteration
10
Gene
rativ
e Mor
phol
ogie
s20
13Ae
rial P
lan
Generative Morphologies
DS1201
11
Building Isometric
12
Gene
rativ
e Mor
phol
ogie
s20
13Th
eate
r Pla
n
Generative Morphologies
DS1201
13
Plan Detail
14
Gene
rativ
e Mor
phol
ogie
s20
13Th
eate
r Ent
ranc
e Pl
an
Generative Morphologies
DS1201
15
Plan Detail
16
Gene
rativ
e Mor
phol
ogie
s20
13No
rth E
leva
tion
Generative Morphologies
DS1201
17
East Elevation
18
Gene
rativ
e Mor
phol
ogie
s20
13Sm
all T
heat
er S
ectio
n
Generative Morphologies
DS1201
19
Section Detail
20
Gene
rativ
e Mor
phol
ogie
s20
13Sm
all T
heat
er S
ectio
n
Generative Morphologies
DS1201
21
Section Detail
22
Gene
rativ
e Mor
phol
ogie
s20
13Un
rolle
d In
terio
r
Generative Morphologies
DS1201
23
Interior Panorama
24
Gene
rativ
e Mor
phol
ogie
s20
13Un
rolle
d in
terio
r Ele
vatio
n
Generative Morphologies
DS1201
25
Unrolled Exterior Elevation
26
Gene
rativ
e Mor
phol
ogie
s20
13Ph
ysic
al M
odel
s
Generative Morphologies
DS1201
27
Physical Models
28
Gene
rativ
e Mor
phol
ogie
s20
13Re
lief M
odel
Generative Morphologies
DS1201
29
Relief Model
30
Swill
: Bru
talis
t Pop
2012
Project in collaboration with Lily Nourmansouri advised by: Florencia Pita
Swill: Pop Brutalist Winery
Swill seeks to create to create an interaction between the kitchness of pop and the monumentality of traditional brutalism. Swill looked to replicate ideas of strong extrusion found in brutalism and adapt it from a graphic pattern. The premise was to move past the problems of a simple field project and blur the figure ground, enabling the object to free itself to become sculptural and unique. The project draws from brutalistalism in its theories starting with a kit of parts, simple, rough, dilineated rather then historical precedent. Swill itself takes the idea of hyper-ornamentation in its rigor of patterning and texture to create a saturation of depth in its adapted graphic extrusion. The project located in Mendoza, Argentina takes advantage of its unique program of winery and tourist attraction and blends together the field condition with the figure. The building sought to create an aesthetic that seemed to grow from the landsape itself, as if atlantis had finally dried up and its runes were brought to the surface. Its aesthietic style has references but seeks present itself in a naivity that neither denies or emphasis its relatives.
Swill: Brutalist Pop
2GAX
31
32
Swill
: Bru
talis
t Pop
2012
Men
doza
Site
Pla
n
Swill: Brutalist Pop
2GAX
33
Form Catalog
34
Swill
: Bru
talis
t Pop
2012
Rest
aura
nt A
eria
l
Swill: Brutalist Pop
2GAX
35
Winery Aerial
36
Swill
: Bru
talis
t Pop
2012
Rest
aura
nt P
ersp
ectiv
es
Swill: Brutalist Pop
2GAX
37
Winery Perspectives
38
Swill
: Bru
talis
t Pop
2012
Sout
h Se
ctio
n Ca
talo
g
Swill: Brutalist Pop
2GAX
39
North Section Catalog
40
Swill
: Bru
talis
t Pop
2012
Elev
atio
n Ca
talo
g
Swill: Brutalist Pop
2GAX
41
Elevation Catalog
42
Swill
: Bru
talis
t Pop
2012
Rest
aura
nt P
ersp
ectiv
e
Swill: Brutalist Pop
2GAX
43
Interior Perspectives
44
Swill
: Bru
talis
t Pop
2012
Exte
rior P
ersp
ectiv
e
Swill: Brutalist Pop
2GAX
45
Exterior Perspective
46
Swill
: Bru
talis
t Pop
2012
Phys
ical
Mod
els
Swill: Brutalist Pop
2GAX
47
Physical Models
48
Mod
elin
g Too
l Cam
p20
12
Visual StudiesGingricken is an experiment of creating a artificial landscape using the simple merging or a ginger and a chicken. Initially we began by photographing the ginger and chicken and plugging them into 123D catch a image processing software that creates 3D meshs from photos. We then went about creating variations of the realistic objects into “the fantastic”. These object were not full on abstraction rather a line between majestic and realistic. The ginger and chicken were then composited on a digital 2.5D canvas attempting to create a scene of coral interacting with lava deep beneath the surface. The project then emerges using the depth of the ginger as a natural coral and the chickens legs as a connecting device for flows and bubbles of lava. Although there is no immediate recognition of the initial objects in the composition the figural nature of the ginger and the chicken are preserved. The Second Project involves using the program touch-designer to project false shadows onto an object to simulate a animated hatch.
Project in Collaboration with: Pedar Brand, Austin SamsonAdvised by: Elena Manfrendi
Modeling Tool Com
pAS3302
49
50
Tabl
eau V
ivan
t20
12Gi
nger
Mod
elin
g Pr
ogre
ssio
n
Tableau VivantVS4200
51
Chicken Modeling Progression
52
Tabl
eau V
ivan
t20
12Fi
nal D
igita
l Can
vas
Tableau VivantVS4200
53
Final Digital Canvas
54
Tabl
eau V
ivan
t20
12Ca
nvas
Det
ail
Tableau VivantVS4200
55
Canvas Detail
56
Exac
t For
ms
2012
Proj
ecte
d An
imat
ion
Still
s
Exact Forms
VS2538
57
Projected Animation Stills
58
Adva
nced
Stru
ctur
al Sy
stem
s20
13
Advanced Structural Systems
Advanced Structural Systems is a class or structural exploration. The first project involved the forces of ten-sion, using weight and gravity to hold the shape of a new structure for the Guggenheim. The second project involved using catanery hanging chains to model a structure in compression. The project was envisioned as a Dj tent as the structure would be very lightweight and mobile. The third project was an exploration into tension and compression. The object was envisioned at the scale of a building, allowing users to inhabit the object and experience the bizarre nature of the doubly curved structure.
Project in Collaboration with: Austin Samson, Carlos VargasAdvised by: Greg Otto
Advanced Structural Systems
AS3302
59
60
Adva
nced
Stru
ctur
al Sy
stem
s20
12M
odel
Dev
elop
men
t
Advanced Structural Systems
AS3302
61
Model in different Positions
62
Adva
nced
Stru
ctur
al Sy
stem
s20
12M
odel
App
licat
ion
Advanced Structural Systems
AS3302
63
Physical Model
64
Adva
nced
Stru
ctur
al Sy
stem
s20
12M
odel
Dev
elop
men
t
Advanced Structural Systems
AS3302
65
Physical Model
66
Adva
nced
Tect
onic
Syst
ems
2012
Advanced TectonicsFamily Matter is a project that takes pattern into the scale of the oppressive. FM takes over its world wrap-ping anything and everyone. Using a pattern in Carbon Fiber tow we were able to take the wrapping of figure outside the cartoony realm of the Hejdukian and into the grotesque by choosing the figuration of a family rather then a inflatable. The pattern thickens and thins around the figure creating what seem to be wrinkles in form and suggest higher figurative detail. The hardening process of the tow created the illusion of a soft object(the bodies) being morphed into a rigid wall structure, creating a dialogue between the two pieces. The tow hardens and the molds are removed creating a grotesque scene of a family being engulfed in pattern.
Project in Collaboration with: Ryan Manning, Ana Munoz, Lily Nourmansouri, and Johnathon SchnureAdvised by: Marcelo Spina
Advanced Tectonic Systems
AS3302
67
68
Adva
nced
Stru
ctur
al Sy
stem
s20
12M
odel
Dev
elop
men
t
Advanced Structural Systems
AS3302
69
Physical Model
70
Adva
nced
Stru
ctur
al Sy
stem
s20
12M
odel
in P
rogr
ess
Advanced Structural Systems
AS3302
71
Model Detail
top related